Retro “Leaf” earrings set with large central rectangular citrines surrounded by orange / yellow marquise shaped citrines all set in platinum mounts, c. 1940’s
Jules & Louis Wiese Etruscan Revival brooch set with a gem quality cabochon ruby (approx. 4.32 carats by calculation) and two natural pearls (7mm each) all in an elaborate 18k gold mount with intricate twisted scrolls and a gold wire wrapped border signed: Wiese (in Gothic-style signature mark), French diamond maker’s poincon, French Eagle’s head mark for 18k gold, original burgundy leather presentation box with fancy embossed gilt initials on the cover and a vanilla silk velvet and satin interior, c.1875
Bulgari, Carlo Luca della Quercia Illario (maker) Large flattened “Tubogas” necklace or double bracelet all in 18K gold signed: BULGARI, 750 (for 18K gold), Italian touchmark of a Star, no.2337, A1 (all in a rectangle), SB in a rectangle, 750, circle with a cross through it and a Q (Birmingham Assay and Import marks), original blue leather and suede signed presentation box, c.1970’s
Art Deco “Fire Opal” necklace, frosted rock crystal round beads and four sided custom rock crystal bezels set in 18K yellow gold with 16 round–cut accent diamonds featuring five large natural fire opals (G.I.A certificate, dimension of each fire opal, 13.00 x 8.15 x 6.20mm for a TW of approx. 17.50 carats), c. 1940’s
Louis Comfort Tiffany for Tiffany & Co. “Oval Moon” brooch set with a large gem quality moonstone (approx. 43 carats) set with 23 Montana sapphires (approx. 8 carats TW), marked: 10% Irid. Plat, c. 1920
Tiffany & Co. “Prince of Wales’ Feathers” made during the reign of Edward VII (he held his title of the Prince of Wales longer than anyone before him and was King of England from 1901 to 1910) brooch pave set with 123 round-cut diamonds (approx. 2.50 carats TW) and all set in a three dimensional brooch of platinum topped gold, signed: Tiffany & Co., c.1900
Bueche Girod 18k white gold square face wrist watch with a crimson red watch face and an extremely fine woven 18k white gold band and clasp, signed, c.1970
Paul Brandt, Paris Art Deco “Zig Zag” cigarette case in sterling with champlevé black enamel zig zags on both sides of the case, signed: S A M initials in a triangle French maker’s poincon, French Boar’s head Paris silver assay mark for small objects (2x), London import mark with a London Zodiac sign of Leo (3x), .925 (silver standard) (4x) and the London letter M date mark for 1927 (3x), no. 18347 (2x), British touchmark of a G and an F in a rectangle, C.B.F initials and the date 7-1928 (script engraving), c.1925
W. Truman Ltd. / Peter Truman for The Goldsmith’s Company “Chrysanthemum” brooch in platinum and diamonds and natural Mississippi pearls, retailed by Tiffany & Co. New York, signed, c. 2000
French 19th Century “Baroque” inspired brooch 18K yellow gold set with a large oval cut pink tourmaline (approx. 16 carats TW) and 59 rose cut diamonds (approx. 5 carats TW), marked, c. 1890
Bulgari, Rome, “Swallowtail Butterfly” brooch, 18k gold with 134 diamonds (approx. 10+ carats TW), 37 buff-cut gold and madeira citrines and buff-cut black onyx set along the edge and as accent details, signed: BVLGARI, original signed brown leather suede and silk lined presentation box, c.1940’s
Enrico Serafini “Pineapple” brooch, 18K yellow and white gold channel set with the pineapple body with citrines with emeralds pave set in the white gold leaves, Marked: 750, Italy, FI, c. 1950’s
Enrico Serafini (1913-1968) was born in Florence, had a workshop in Piazza Santa Felicità in that city in 1947, and quickly established a successful business creating jewelry for many celebrities of that time, including John Steinbeck and Adlai Stevenson.
Waslikoff & Sons, Inc., New York (active 1920’s to 1950, 48th Street) Art Deco bracelet set with one large oval aquamarine, 6 large emerald-cut aquamarines and 16 French cut aquamarines (approx. 30 carats TW for the 23 aquamarines) together with 60 round-cut diamonds and 6 baguette diamonds (approx. 6 carats TW for the 66 diamonds) all set in platinum, signed, c. 1930’s
Cartier, London “Star of David with Lion Rampant Brochant/Lord Nathan” lapel brooch set with calibre-cut sapphires in platinum in the shape of The Star of David with an 18k gold yellow gold crowned and finely detailed sculptural Lion Rampant Brochant overlaid on the Star of David, commissioned by Lord Nathan from Cartier London in 1946, signed: Cartier, London (script signature), original signed Cartier leather presentation box
Lord Nathan (1889-1963), Harry Louis Nathan, 1stBaron Nathan, was born in London in 1889 and was the son of Michael Henry Nathan, a fine art publisher and J.P. (Justice of Peace) He was educated at St. Paul’s School and became honorary secretary of the Brady Working Lads’ Club, the oldest and largest of the London Jewish Lads’ Clubs (J.L.G.B). Nathan served in World War I, leaving with the rank of Major. He was first elected in 1929 as M.P. (Member of Parliament) for Bethnal Green North East and was re-elected in 1931. Along with many other Anglo-Jewish communal leaders, Nathan was a founding member of the Central British Fund for German Jewry (now World Jewish Relief Fund). He was created a hereditary peer as Baron Nathan of Churt in the County of Surrey on June 28th, 1940. He continued in active politics from the House of Lords, serving as Under-Secretary of State for War (1945-1946) and Minister for Civil Aviation (October 4, 1946-May 31st, 1948). He was made a Privy Counsellor in 1946. This lapel brooch was commissioned by Lord Nathan from Cartier London in 1945/46 and descended in his family.
Seaman Schepps, New York “Maltese Cross” brooch, one large round cut central citrine (approx. 45 carats) set with 4 large square step-cut citrines (approx. 108 carats TW) and further set with four extra long baguette citrines (approx. 13 carats TW) in a radiating pattern set in 14k yellow gold (total citrine carat weight of 166 carats), signed: Seaman Schepps, 14k, c. 1940’s
An immigrant’s son, who grew up in the tenements of New York’s Lower East Side, Seaman Schepps rose to prominence in the 1930s with jewelry designs that challenged the status quo and defined a new style for the American woman. With his chunky brooches, “barbaric” bracelets and “bubble” earrings, Schepps pioneered a unique style of jewelry whose sense of splendor offered a new perspective to the world of fine jewelry.
Witty, over-the-top and flattering, Schepps’ jewelry embodied style and originality and was featured on the covers of Vogue, Harper’s Bazaar, Look and other magazines. It appealed to a myriad of clients from Katherine Hepburn to Andy Warhol to the Duchess of Windsor and greatly influenced his contemporaries. Today, some 50 years after his death, he continues to inspire modern jewelers.
Through the 1930s, and into the 40s and 50s, new clients flocked to him at his store on Madison Avenue. Often clients wanted a one-of-a-kind bauble and commissioned Schepps to incorporate their old jewelry into a fresh new design. Frequently this led to landmark decisions that helped distinguish Schepps as an extraordinary talent. His client list included Coco Chanel, Elsa Schiaparelli, the Duchess of Windsor, and members of the Du Pont, Mellon and Rockefeller families. By serving these most powerful and influential individuals, Schepps became known as “America’s Court Jeweler”.
Mahrokh Beck, Munich, Stylized flower brooch with a large square cut citrine, a smaller square cut citrine, yellow and orange oval citrines, sapphires and cognac diamonds all set in 18K yellow gold, c. 2005
MAHROKH BECK Munich, Germany
Stylized flower brooch c. 2005
Set in 18 K yellow gold with a large square cut citrine (approx. 40 carats TW) and a smaller square cut citrine (approx. 4 carats TW), 2 oval orange citrines, 2 oval yellow citrines, 2 oval sapphires and cognac diamonds
Magnificent American Art Deco diamond and emerald bracelet attributed to Oscar Heyman Brothers, Marquis cut center diamond (approx. 2.75 carats TW) accented with 30 calibrè cut emeralds (approx. .60 carats TW), further set with four marquis diamonds (approx. 2.75 carats TW), 441 round diamonds, individually and pavè set (approx. 43 carats TW) for a total diamond carat weight of approx. 48.50 carats all in a fine quality milligrain platinum mount, c.1930
Charlton & Co. (attr.) American Art Deco “Dendrite Agate” jewel cufflinks in an overall hexagonal form further set with caliber cut onyx in platinum topped 18k yellow gold, c. 1920’s
Uno A Erre, Arezzo, Italy, basket weave textured 18k gold in the form of a pill box, marked: 1AR (in a hexagon), Uno A.R. (in an oval), 750 (in a hexagon), c. 1970’s
Enrico Serafini, (1913-1968) Italy “Cupid Orchestra” charm bracelet, 18k gold finely detailed cupid figures playing a variety of musical instruments in platinum all on a solid 18k gold link bracelet, touchmark,c.1950
Bulgari, Rome, “Pocket Tape Measure” lighter, 18k gold with a concentric ring detail on both the top and the underside, signed: BVLGARI, BB back to back in a hexagon maker’s mark, 750 (in a rectangle), Swiss made, G. 137, original signed blue leather box with a tan suede interior, c. 1970’s
Max Cartier, Paris (born 1935, Film Director, Sculptor) 18K yellow and white gold signature “wrapped” bass or cello sculptural brooch. Signed: Max Cartier (script signature) on lower front right, French maker’s mark with an A L in a diamond poincon, French mark with a M C in a diamond poincon for Max Cartier (2x), French Eagle’s head touch mark for 18k gold (2x), c.1980
Van Cleef & Arpels, New York gem set floral perfume bottle in 14k rose gold set with 5 round cut natural rubies (approx. 1 carat TW) and one round cut diamond, signed: Van Cleef & Arpels, NY, 2669, 14k, c.1938 (left) &Cartier Art Deco “Candle or Flame” portable perfume bottle in 14k gold, signed: Cartier (script signature), 14k, c.1930’s (right)
Edwardian Era elaborate pendant necklace with a large fancy round-cut natural gem Madeira citrine (approx. 30 carats TW dimensions 20mm x 20mm x 16mm, GIA certificate) in a fine milligrain platinum mount with stylized leaves and flower blossoms and a bow all set with 83 old European round-cut diamonds (approx. 4.65 carats TW) suspended from the matching and period platinum chain, c.1900
Van Cleef & Arpels circular stylized clip brooch in 18K gold with a ribbed motif, signed: VCA, Or, 750, copyright 88, VCA French touchmark in a diamond, no. B3378R5, c. 1980’s
William Ruser Los Angeles “Charisse” 10 year anniversary bracelet, 1958 platinum set with diamonds and 8 pearls and further set with a double ruby heart charm that was given to Cyd Charisse by Tony Martin for their 10th wedding anniversary on May 15, 1958. It is engraved: Martin’s Mixture since May 15, 1948 Ten Fluid Years “Taint Tin” (They were married for 60 years) Signed and marked: Ruser, Made in California, 10% irid Plat
The well known Beverly Hills jeweler, William Ruser, started his career at the firm ofTrabert & Hoeffer-Mauboussinin Atlantic City New Jersey, before being transferred to manage their Los Angeles location in the 1930’s. In 1947, he and his wife opened their eponymous boutique on Rodeo drive. While keeping traditional diamond and preciousgemstonemerchandise in stock, the Rusers’ specialty wasbaroque, freshwaterpearl jewelry. In the 1930’s, Ruser had bought several shoeboxes full of these oddly shaped, American pearls from a button manufacturer. Freshwater pearls had been relatively unpopular at the time. ThoughArt Nouveaujewelers used them liberally to embellish their pieces, jewelers in the 1920 and 30’s did not follow suit. In the late 1940’s and throughout the 1950’s, Ruser helped to change this. In the vanguard, along withVerdura andSeaman Schepps, the Rusers created swans, hummingbirds, poodles, skunks, as well as playful cherubs with freshwater pearl accents. Throughout the 1950’s and 60’s, business boomed and Hollywood starlets proudly wore hisfiguralpieces both on and off screen. In 1969,Ruserclosed up shop, selling its location toVan Cleef & Arpels.
Italian classic “Curb Link” chain necklace in solid platinum, marked: Italy, 950 in a cartouche and the word, Fancy, Length: 22 an ¼ inches x Width: 11/16 inches, c. 1970’s
Enrico Serafini, Pair of “Water Sprites”, 18K Yellow and White gold set with 22 round diamonds, approx.2 ½ carats TW, Signed: E. Serafini, 750 (both signed), c. 1950’s
George Marcus / Marcus & Co., New York “Snake” lapel pin, finely hand chased and chiseled 18k gold snake wrapping around a large polished cabochon natural emerald bead (approx. 7 carats) and further set with a diamond in the head of the snake, signed: M. & Co. and #15413, c. 1900
Eugene Fontenay (1823-1887) “Wisteria” brooch and fitted with original pendant attachment in 18k gold with extremely fine detailing, superb granulation and hanging pendant blossoms, marked: EF in a diamond poincon (the mark of Eugene Fontenay), French Eagle’s head touchmark for 18k gold (2x), c.1875
Eugene Fontenay (1823-1887) “Wisteria” brooch and fitted with original pendant attachment in 18k gold with extremely fine detailing, superb granulation and hanging pendant blossoms, marked: EF in a diamond poincon (the mark of Eugene Fontenay), French Eagle’s head touchmark for 18k gold (2x), c.1875
Length of pendant: 3 and 3/8 inches x width: 1 and ½ inches
Matching French open wirework long necklace in 18k gold with fine detailing and delicate beadwork details, marked: TM in a diamond poincon (maker’s mark and possibly that of Michel Tricaud), French eagle’s head touchmark for 18k gold (3x), c.1875
Pendant and necklace combined weight: 2.61 Troy ounces / 81.2 grams / 52.3 pennyweights
Nineteenth century French goldsmith Eugène Fontenay (1823-1887) was born into the profession, with a family name long known for their skills as goldsmiths. Fontenay opened his own studio in 1847 after apprenticing with Marchand and working for the Parisian jeweler Dutreih. Influenced by the archeological revival style of the period, a response to the Campana Collection of classical jewels, brought to France in 1861. Fontenay became an author as well, and published books including“Les Bijoux Anciens et Modernes” in 1887, after selling his workshop.
Giacinto Melillo (attr.) Etruscan / Egyptian Revival bracelet, finely woven three strand 18K gold braclelet set with very delicate floral rosettes throughout with fine wire work and gold granulation and further set with 5 round cabochons of gem quality lapis lazuli, c.1875
Sara Sax / Rookwood Pottery Arts & Crafts Art Nouveau “Poppy” pitcher 1906
SARA SAX (1870-1949)
ROOKWOOD POTTERY Cincinnati, OH
“Poppy” pitcher 1906
High fire ceramic with “Iris” glaze depicting five salmon pink poppies in various stages of blooming all on a rare handled pitcher form.
Marks: RP insignia, VI (1906), SAX (intertwined for Sara Sax), 772
For more information on Rookwood see: The Book of Rookwood Pottery, Herbert Peck (New York: Bonanza, 1968) pp. 60, 63, 64, 112, 140, 146, & 156 ; American Ceramics: The Collection of Everson Museum of Art, ed. Barbara Perry (New York: Rizzoli International Publications, Inc., 1989) p.108.
John Pearson / British Arts & Crafts Handwrought copper tea caddy c. 1900
JOHN PEARSON (19th century) UK
Tea caddy c. 1900
Handwrought copper with rivets, repoussé lid with 4 heart-shaped leaves, rich red brown original patina
Marked: JP in an oval cartouche (on bottom)
H: 4 1/2″ x D: 4 1/4″
For more information on Pearson see: CR Ashbee: architect, designer & romantic socialist, Alan Crawford (New Haven, CT: Yale University Press, 1985), pp. 32-33, 46, 313-316; Reflections: arts and crafts metalwork in England and the United States (New York: Kurland – Zabar, 1990), pp. 32-33.
Pearson was an original member of CR Ashbee’s Guild of Handicraft starting in 1888. He later resigned to join the Newlyn Industrial Class. He also worked for the designer & ceramicist William De Morgan which is where many of his fanciful themes in repousse are inspired. He is considered one of the finest repousse metalsmiths of the period. His shop remained active until after the turn of the century, most pieces are dated.
Renaissance revival “portrait” cabinet 1858 – 1864
Carved cherry wood portrait plaque, mahogany, exotic wood inlays and gilding; black and gold veined marble top
Marks: G. Herter / New York (impressed mark)
Provenance: Patrick A. Valentine Family, Lake Oconomowoc Wisconsin; Phillip Danforth Armour, Chicago and Lake Oconomowoc, Wisconsin.
H: 42” x W: 43 1/2” x D: 22”
This Renaissance Revival cabinet is an exceptional example of the style as it developed in the United States from the middle of the 19th century into the early years of the Civil War. Along with intricate marquetry and gilded elements, the cabinet boasts a rare carved wood civil war era portrait. Herter’s case pieces in this style were generally ornamented with bronze medallions or plaques imported from Europe. In addition, the G. Herter signature makes this piece a great rarity as the cabinetmaker rarely signed his work. This spectacular cabinet also has an interesting provenance. The original owner, Phillip Danforth Armour, founder of the famous Chicago Meat Packing Co., likely acquired the cabinet at the time of his wedding in 1863. Thirty years later, the cabinet was moved to the Armours’ summer estate, Danforth Lodge, which was built on Oconomowoc Lake in Wisconsin. The mansion was raised in 1953 but the cabinet survived in the family of Armour’s widow who had married Patrick A. Valentine, a principal in the Armour company.
“Danforth Lodge”, Oconomowoc Lake, Wisconsin (known as Newport of the Midwest) a grand summer residence, built in 1893 by Phillip Danforth Armour (founder of the Armour Meat Packing Co., Chicago, Illinois). After Phillip Danforth Armour died, his wife married Patrick A. Valentine, an officer of the Armour Meat Packing Co. In 1916 they enlarged it into an even grander estate, which was later sold and subdivided in 1941. The mansion was eventually torn down in 1953.
Herter Brothers of New York City became one of the leading cabinetmaking and decorating firms of the nineteenth century. Gustave Herter (1830-98) and his younger brother Christian (1840-83) emigrated from Germany to New York. While Gustave spent time working at Tiffany, Young, and Ellis (later Tiffany and Company), Christian had studied at the Ecole des Beaux-Arts in Paris, France. Their partnership led to prominent commissions including the homes of wealthy industrialists, William H. Vanderbilt, J. Pierpont Morgan, and Potter Palmer, among others. Dictated by the favored tastes of the Aesthetic Movement and its quest towards “art for art’s sake,” the Herters’ work achieved a perfect blend of classic and craft as they became one of the first “tastemakers” of the period, designing exquisite furniture as well as interior schemes.
***A related work of Herter Brothers Renaissance Revival can be found in the Music Room Mirror from the Milton Latham Residence at the Los Angeles County Museum of Art.
Herter Brothers
The firm of Herter Brothers, New York, (working 1864–1906), founded by Gustave (1830–1898) and Christian Herter (1839–1883), begun as an upholstery warehouse, became one of the first firms of furniture makers and interior decorators in the United States after the Civil War. With their own design office and cabinet-making and upholstery workshops, Herter Brothers were prepared to accomplish every aspect of interior furnishing including decorative paneling and mantels, wall and ceiling decoration, patterned floors and carpets and draperies.
The Herters were born in Stuttgart, Württemberg. Gustave was born Julius Gustav Alexander Hagenlocher, with his unmarried mother’s surname. She married Christian Herter (1807–1874) in 1835, and he adopted Gustave. Christian Augustus Ludwig Herter, Gustave’s half-brother, was born in 1839. Gustave and Christian’s father was a skilled cabinetmaker and they followed him in the trade. Gustave Herter came to New York City in 1848 and by 1858 was working under his own name. Christian was in New York by 1859 and joined his brother in the firm (renamed Herter Brothers) by 1864.
The firm was at the forefront of the panoply of furnishing styles that preceded the Mission style: Renaissance Revival, Neo-Grec, Eastlake, the Aesthetic Movement, ebonized “Anglo-Japanese style” furnishings of the 1870s – 1880s for which the firm is best recognized today, and the wide range of furnishings in revival styles required for Gilded Age houses.
The Red Room of the White House was furnished with Herter Brothers furniture during the administration of Ulysses S. Grant. Several pieces of Herter Brothers furniture remain in the White House including a center table and a slipper chair. This center table bears the remains of the only known Herter Brothers paper label; generally the firm stamped their furniture, a common practice in the 19th Century.
Among their most prominent clients were the Vanderbilts. Between 1879 and 1882, Herter Brothers decorated William Henry Vanderbilt‘s new Fifth Avenue mansion.
At 634 Fifth Avenue, in 1880–1882, they decorated the mansion of Darius Ogden Mills, on the site of part of Rockefeller Center now occupied by the colossal bronze Atlas. Their bills came to US$450,000. At the same time they were furnishing the nearby Jay Gould residence at 579 Fifth Avenue, at Forty-seventh Street.
The White House’s interiors were extensively renovated during the administration of Theodore Roosevelt. Executing the designs of architect Charles Follen McKim, Herter Brothers created the plaster ceiling and ornately-carved oak paneling for the expanded State Dining Room. The firm’s workshops also provided the heavily carved paneling for the renovated East Room.
Very few Herter Brothers interiors remain extant. “Elm Park” in Norwalk, Connecticut was built 1864-68, and partially decorated by Herter Brothers. Open to the public as the Lockwood-Mathews Mansion Museum, the drawing room, music room and rotunda/art gallery are examples of the Herters’ interior design schemes, including lavishly carved and inlaid woodwork and frescoed walls and ceilings. The recently restored drawing room retains a suite of Herter furniture purchased for it by the home’s second owner, Charles D. Mathews.
A notable surviving Herter interior is the John Thatcher home, now the Rosemount Museum, in Pueblo, Colorado (however, this work was carried out by the firm after the death of Christian Herter and the retirement of his brother, Gustave; connoisseurs and collectors tend to concentrate on the furniture and interiors designed during the brothers’ supervision of the firm).
Examples of Herter furniture are in major public collections in the United States. The Metropolitan Museum of Art in New York City presented an exhibition, “Herter Brothers: Furniture and Interiors for a Gilded Age,” in 1995.
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